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Who doesn’t love The Avengers? Earth’s Mightiest Heroes had been at the forefront of Marvel Comics for decades before making their live-action debut in 2012. The appropriately titled The Avengers not only cemented the Marvel Cinematic Universe as cinema’s juggernaut throughout the 2010s but also sent a shiver down the spine of every major movie studio head, who quickly scrambled to create their own cinematic universe, often with little success.
The movie spawned three sequels, each one bigger than the one before. Each of these celebrated blockbusters also had a significant impact on the movie industry and the cultural space, transcending the boundaries of the big screen to become certified phenomenons of the 2010s. Which of the four Avengers movies had the bigger impact, though, both within the MCU (in-universe consequences, that is) and in the real world (industry-wide effects)? As we wait for the upcoming Avengers: Doomsday, now’s the time to answer that question.
As is the case with most worst-to-best Avengers rankings, let us begin with Avengers: Age of Ultron. The sequel to the first Avengers movie sees the team working to stop Ultron (James Spader), an advanced AI created by Tony Stark (Robert Downey Jr.) and Bruce Banner (Mark Ruffalo). Like many other AIs, Ultron soon concludes that the problems on Earth all trace back to humanity itself, specifically the Avengers. Thus, he goes rogue, recruits the twins Pietro (Aaron Taylor-Johnson) and Wanda (Elizabeth Olsen) Maximoff, and launches a full-scale attack against the team.
Age of Ultron is among the most divisive superhero movies ever. Widely considered a step down from its predecessor, it was widely criticized for its bloated and often needlessly contrived plot, lack of character development, and an overall more uneven tone. Ultron is a fine villain, and the Maximoff twins are solid additions, but it’s not enough to elevate what is effectively a mediocre movie. Age of Ultron didn’t have the same overwhelming acclaim as the 2012 original from either critics or audiences and is the lowest-grossing film in the franchise to date. Today, whenever the Avengers saga is discussed, Age of Ultron is often seen as the ugly fuckling everyone wants to forget about.
Age of Ultron‘s immediate sequel was Avengers: Infinity War, the most ambitious outing in the MCU up to that point. The plot sees the Mad Titan Thanos (James Brolin) begin his plot to wipe out half the life in the universe by reuniting all six Infinity Stones. The Avengers find themselves divided across the galaxy, separated into teams trying to defend the stones, while Thanos and his estranged daughter, Gamora (Zoe Saldaña), embark on a dangerous journey.
Infinity War is arguably the best Avengers movie, offering the best balance between intricate, emotionally charged storytelling and larger-than-life stakes brought to vivid life through undeniable, explosive spectacle. The film is the epitome of the superhero genre and has the best villain in the MCU by a mile. Its impact was significant, too: it broke box office records and took the MCU to the next level, featuring a massive gathering of characters who audiences would’ve never expected to see together. The now-iconic ending, where Thanos succeeds and half the main characters disappear, was also shocking, to say the least, becoming perhaps the most talked-about cinematic moment of 2018. Yet, it’s also fair to say Infinity War‘s overall impact suffered from the fact that it was just half of the story; everyone knew the blipped characters would return the next year. The film was also overshadowed by Black Panther in terms of pure cultural impact.
Fans waited a whole year to figure out how the Avengers would bring back all those who disappeared and defeat Thanos; they got their answer once Avengers: Endgame premiered. The film sees the remaining Avengers attempting to pull off a “time heist” by entering the Quantum Realm and traveling back in time to reunite the six Infinity Stones. However, their attempts also bring back a past version of Thanos, more ruthless than the one they already dealt with. As they prepare for the fight of their lives, the Avengers suffer tragic losses that make them question if they have the strength to succeed.
It’s hard to explain just how big a phenomenon Avengers: Endgame was. Showtimes were sold in advance, midnight showing tickets flew as soon as they came out, and audiences camped outside the movie theater—the expectation was that big. The film very much felt like the culmination of an entire decade of continuous, interconnected storytelling, marking a decisive step forward in the way cinematic stories could be told. Simultaneously, it was also a victory lap for the MCU, a way for them to collect their hard-earned praise and even take a bow without needing to actually say goodbye. In retrospect, it was also the end of an era, the climax of the superhero genre as a whole. Arguably, no movie in the genre has been as impactful or universally adored since, although a few have come close.
If Endgame was the end of an era, then The Avengers was the beginning. The 2012 film sees the unhinged god Loki (Tom Hiddleston) attempting to conquer Earth by using the Tesseract to open a portal to another world, meaning to launch an alien invasion. Nick Fury (Samuel L. Jackson) assembles the initial six Avengers, trying to form a defence against Loki. However, internal conflicts make things difficult, as these six heroes aren’t exactly used to working as a team. It doesn’t help that Loki has the power to control minds with a powerful staff, so there’s that.
Very few movies can claim to have started a genuine revolution in cinema; The Avengers is one. The film was the first to pull off something as ambitious as gathering characters from different movie series and bringing them together as a team while telling a cohesive storyline, easy enough for everyone to understand. It proved that a cinematic universe could not only exist but actually thrive beyond anyone’s wildest expectations. The Avengers broke box office records up to that point and became the defining cinematic event of the year, surpassing Christopher Nolan‘s last Dark Knight movie and the best James Bond effort in years. It inspired every movie studio to imitate its formula, hoping to replicate its success, and cemented the superhero genre as the reigning champ of the 2010s. Many movies built the MCU, but The Avengers is certainly the pillar upon which the entire franchise rises.
Jennifer Morrison is best known for her starring roles in shows like Once Upon a Timeand House, as well as memorable/recurring roles inHow I Met Your Mother and Star Trek. But lately, she’s been killing it behind the camera as a director, in particular with the Paramount+/Showtime series Yellowjackets. The spooky woods where teenage soccer players descend into madness and cannibalism, surviving a plane crash, are very different from the Enchanted Forest Morrison’s Emma Swan often inhabited on OUAT – despite both filming in the wilds of British Columbia. In an interview with Perri Nemiroff for Collider Ladies Night, Morrison talked about her creatively fulfilling experience at the helm of two episodes in Yellowjackets Season 3 and one episode in the upcoming fourth and final season.
“Yellowjackets is like a part of my soul at this point,” says Morrison. “I have not come to terms with the fact that the show is ending, because it has felt so like a creative family for me to be able to go there and do what I do.” The two episodes that Morrison contributed to as director in the third season of Yellowjackets are Episode 4, “12 Angry Girls and 1 Drunk Travis,” a.k.a. the one with the trial; and Episode 7, “Croak,” a.k.a. the one with the frog people. Both of those episodes were absolute game-changers; “Croak” is the highest-rated episode of the season on IMDb, but “12 Angry Girls…” is weirdly underrated.
In “12 Angry Girls…,” the yellowjackets finally try their hand at something resembling conventional society. They put Coach Ben (Steven Krueger) on trial for burning down the cabin where they used to sleep. Misty (Sammi Hanratty) and Taissa (Jasmin Savoy Brown) are the lawyers, and Nat (Sophie Thatcher) is the judge. However, none of them are in control. Slowly, and painfully, Shauna (Sophie Nélisse) whips the entire jury in her favor, and they sentence Ben to death. It was the first time on the show that the yellowjackets decided on someone’s fate as a group, and out of a warped sense of justice rather than necessity.
“Ashley [Lyle] and Bart [Nickerson], the showrunners on that show, infuse every moment with so much character. It’s unbelievable. Like, I was aware of it watching it, but until I was actually breaking down a script and trying to decide where I wanted to approach the scene and what I wanted my shot list to be, what entry point I wanted to take…” Morrison told Nemiroff. “You could make a thousand different versions of the show because there is such a density of story and character on every single page, and you are forced as a filmmaker to choose a perspective, because otherwise you can’t shoot it. You have to. You absolutely have to. There are too many people, there are too many stories, so you have to choose a way in and 100% commit; otherwise it’s just kind of a mess.”
Morrison went on to explain that she knew “12 Angry Girls…” would be a turning point for the series going in, she told Nemiroff, “Ashley and Bart […] were like, ‘In Yellowjackets, there will always be before the trial, and there will be after the trial. Before the trial, everyone pretty much is off the hook in terms of they were doing what they had to do to survive. After the trial, everyone is culpable of crimes.’” Knowing the weight of the episode, Morrison was honored to helm such a pivotal moment in the series. “And I was like, oh my God, what a huge, pivotal episode for a show. Like, not just a season, but just the turning point of the show. And so there was a lot of pressure on that to make sure that it felt special.” She continued, saying:
“I knew that they were deeply inspired by 12 Angry Men, which is one of my favorite films. I mean, I’d say top 10 in terms of just craftsmanship and intentionality, and just a total classic that I’ve always loved. So I watched that a million times and very intentionally designed the episode to reflect the math equation that was put in place with 12 Angry Men. It’s very rare that you could go to showrunners and say, like, ‘I’m going to do this crazy thing all the way through and totally commit to it,’ and they were like, ‘Great. Go ahead. Go do it.’ They were so supportive and so excited about it.”
Morrison went on to talk about how she connects with the show’s very specific tone and the privilege of filming “Croak” — which serves as another massive turning point for the series. A huge risk of an episode, “Croak” introduced three new characters played by Joel McHale, Nelson Franklin, and Ashley Sutton via flashback. The girls, who have just become totally adult-free for the first time in their lives, do not take well to the newcomers. It’s one of the most violent and shocking episodes of the violent and shocking show.
“It was massive and insane, establishing three new characters, throwing a guy over a cliff, putting an arrow through someone’s shoulder, putting an ax in someone’s head,” Morrison says. “Usually, on an episode of television, you have one thing that gets talked about a lot — every scene had something like that. It was just such an absolutely dense undertaking […] We were able to just tackle an immense amount of wild shit. I don’t know how else to put it. It was just wild.”
How can Morrison and Yellowjackets top that? Well, the episode she directed for the show’s fourth and final season intends to do just that. The initial plan was for her to do two episodes, but scheduling (and shooting her own pilot for Amazon with her Yellowjackets Season 4 DP Corey Robson) got in the way. Morrison couldn’t reveal any plot details about her next episode of Yellowjackets but she promises fans are in for another wild experience. She told Nemiroff:
“I can’t talk about the episode, but I would say the episode I got to do this season […] I would say it is as wild, if not wilder, than Episode 7 of Season 3. I just am coming out of another experience of, I would pitch all these wild things to them, and they’re like, ‘Yeah, go do it, go do it, go do it.’ […] We did some wild shit again, and it was really exciting. It’s so satisfying. It doesn’t matter how crazy the hours are. It doesn’t matter what you’re up against. You get to the end of a day where you feel that creatively supported, and you are just given such rich material to deal with, and then you’ve got these actors who are just game. They’re just game. Like, they’re perfectly cast. They have range like nobody’s business. I would tell anyone and everyone in this industry to hire everyone who’s ever worked on Yellowjackets. They’re just incredible.”
As fans of the show and the cast, we would agree! Every single one of the adult actors is an established icon getting to stretch their range in new and exciting directions; and every single one of the younger actors deserves to reach that icon status for the range they’re showing on this show alone. It’s so tragic that the show is ending so soon, but at least it’s not going to go out with a whisper. We’ll be screaming all the way to the Yellowjackets series finale, baby! Buzz buzz!
You can watch Morrison’s full episode of Collider Ladies Night below.
2021 – 2026-00-00
Showtime, Paramount+ with Showtime
Ashley Lyle, Bart Nickerson, Jonathan Lisco
Benjamin Semanoff, Daisy von Scherler Mayer, Deepa Mehta, Eduardo Sánchez, Jeffrey W. Byrd, Liz Garbus, Scott Winant, Eva Sørhaug, Jamie Travis
Liz Phang, Sarah L. Thompson, Ameni Rozsa
Yung Miami is spilling tea and dropping a major life update on fans. The ‘Spend Dat’ rapper said she’s been boo’d up and feels like she’s glowing different thanks to her new relationship. But once Miami dropped the word “been,” fans immediately started pointing fingers at Diddy, wondering if he’s her secret-or-not-so-secret significant other.
Yung Miami recently joined Angela Yee on her radio show, ‘Wake Up Yee,’ and white chatting about her career, Caresha revealed she’s been off the market for a minute. When Angela asked how long she’s had someone special in her life, Miami quickly responded, saying, “I been had a man.” She also said she feels like her relationship has her glowing on a whole different level. “It add to the spark, like I’m glowing different.”
While talking about her boo, Miami didn’t name-drop her lucky man, but she did reveal that he’s super confident and doesn’t worry about all the male attention she gets. “Oh, my man ain’t worried about that.” Miami continued, “He’s not insecure. I also think its also important for your partner or whoever you’re dating to know the field that your in. You gotta understand my job too.”
Caresha said she’s always wanted a man who understands what comes with her career, and her man knows she’s not giving anybody else attention but him. ‘You can’t bring no extra stress. Like, my work is my work and I wanna go have fun. You should know your woman and know that I ain’t on no bulls**t.
Once thebishgossip dropped clips from Yung Miami’s interview, the comment section was flooded with reactions. Plenty of folks immediately said they knew Caresha has been off the market because they believe she’s still rocking with Diddy. Peep some of the reactions below.
Instagram user @its_dotta wrote, “Her man is Diddy.”
Instagram user @butimjustagay wrote, “Y’all are slow if y’all actually think she was dating Diddy.”
While Instagram user @domika_monroe wrote, “Man y’all need to quit….& let folks live! That girl can talk to way more men…everything don’t revolve around Diddy. Y’all really be upset when people living their best lives because most of y’all are miserable!”
Then Instagram user @darealla__ wrote, “We know you still with diddy girl we didn’t forget that sign 🪧 you was holding up the awards.”
Another Instagram user @laneta.neta wrote, “Clearly Diddy cause we ain’t seen her with no one.”
Instagram user @_brownnnsugar wrote, “I think her and Jeezy would look good together.”
Then another Instagram user @motivemind_7 wrote, “‘Been’ lmao we been knew 🤣”
While another Instagram user @vanity.18.18 wrote, “She with a NFL player ❤️”
Finally, Instagram user @marsmajestyy wrote, “Diddy still her man lol tf. DUH!”
Yung Miami has been on a run lately, and talking about her bae isn’t the only thing she’s been discussing. While chopping it up with Complex, Caresha opened up about her relationship with Tyla. She said they haven’t talked about the incident involving their Chanel-themed songs. Roommates, if y’all recall, Caresha previously alleged that someone “ran off” with her song, though she didn’t name-drop anyone at the time. Shortly after, she revealed that she was referring to Tyla and said she personally played her ‘Take Me To Chanel’ track for her. Tyla then went on to drop her own ‘Chanel’ single shortly after. Now, Miami is giving an update on where they stand since the mishap and said they haven’t talked, but she has moved on. “The situation was what the situation was […] that’s just what it was, I moved on.” She also said she appreciates Tyla for showing her love and supporting her. “She did a TikTok to ‘Tea Time.’ I mean she’s been very supportive.”
What Do You Think Roomies?
The Bold and the Beautiful has Deacon Sharpe (Sean Kanan) absolutely crushed because Taylor Hayes (Rebecca Budig) turned down his marriage proposal. And it looks like he might be questioning everything and wondering if he made the right choice when he left Sheila to get with Taylor because the rejection is hitting him hard.
We’re going to talk about how Deacon Sharp may realize that he made a mistake and he may dump Taylor Hayes and then go running back to Sheila Carter (Kimberlin Brown). And now let’s talk about how things are shifting and where we’re going.
We just saw Deacon get down on one knee and he asked Taylor to be his wife. And poor Deacon did not get the response that he was hoping to get. It looked like he really thought Taylor was going to say yes. And she didn’t. She told Deacon no. But she says not because she doesn’t love him.
Taylor told Deacon she loves their relationship just the way it is and she doesn’t see any reason at all to get married. Taylor thinks at their age and because she and Deacon have both been married and divorced before that things are different and Taylor was saying, “Oh, you know, we don’t need a ceremony.” Plus, she said she’s afraid that if she and Deacon get married, it will change their relationship for the worse.
But Taylor also told Deacon there are just too many complications because of Steffy Forrester (Jacqueline MacInnes Wood) and Sheila. And honestly, that shouldn’t even be a factor for Taylor because at this point, Sheila’s leaving them alone. And right now, all Deacon’s ex cares about is having a relationship with Finn Finnegan (Tanner Novlan) and her grandson Hayes.
But as we know, the drama is off the charts where Sheila, Finn, and Steffy are concerned right now. Sheila gave Deacon a divorce and she’s leaving him and Taylor in peace. So, she’s really a non-issue for them. And as far as Steffy goes, she has mostly accepted Taylor’s relationship with Deacon. And of course, it would be a little of a bit of a shock if Steffy found out that Taylor and Deacon were getting married. But Steffy would accept that eventually as long as her mom’s happy.
So, it sounds like Taylor is just coming up with every excuse in the book to not marry Deacon, to not say yes. And he told Taylor, “It’s okay. They don’t have to get married as long as they’re still together.” But you could see the heartbreak. Poor Deacon was crushed. So much so that he asked Taylor if he made a mistake by divorcing Sheila to be with her because Deacon definitely thought they were going to have a future as husband and wife. And now Taylor’s telling him that’s not going to happen. And it sounds like she meant never. So Deacon’s taking it hard.
I absolutely don’t blame him at all for getting his feelings hurt like this because if Taylor really loved him, you know, if she truly cared about Deacon, she would let nothing stand in the way of marrying him. And Taylor tried to say if they were in their 20s, it’d be different. No. Love is love and Deacon loves her and it looks like he loves her a lot more than Taylor loves him. And of course, she still wants to be with Deacon, but the fact that she’s not willing to legally commit to them as a couple might be something that Deacon can’t get over.
Taylor’s kind of reminding me of how Electra Forrester (Laneya Grace) was with Will Spencer (Crew Morrow), where she always put her family and others ahead of Will, whereas Melissa Dylan (Sydney Bullock) is the person who puts Will first. And Deacon definitely puts Taylor first. I mean, he risked a lot divorcing Sheila for her. Deacon could have lost half of Il Giardino. And if Sheila went berserk, Deacon might have lost his life. But Taylor’s putting her anxiety over Sheila and Steffy before her love for Deacon.
I also suspect Taylor’s worried about how Ridge Forrester (Thorsten Kaye) will react because, you know, he won’t take it well if he hears that Deacon and Taylor got engaged. I’m sure Ridge and Steffy are hoping Taylor and Deacon would eventually fizzle out. So, they’ll be happy that Taylor said no to Deacon. By comparison, Sheila would have done anything to stay with Deacon.
Yeah, she overstaffed when she kept the Luna Nozawa (Lisa Yamada) secret from him, but that wasn’t about Sheila not loving Deacon. That was her also loving her granddaughter and trying to protect her. I mean, really, Sheila worshiped Deacon. And now we’ve got Taylor rejecting something that Sheila would jump at the chance to have.
So, things are out of balance with Deacon and Taylor. They were not with him and Sheila. When Deacon was with Sheila, she loved Deacon completely and unconditionally. And there was nothing that Sheila wouldn’t have done for Deacon. Nothing that I can think of. Aside from Finn, we know that Deacon is and was Sheila’s everything. She even loved Deacon enough to let him go when he said he wanted Taylor.
Sheila didn’t like it, but she agreed because in the end, she wanted Deacon to be happy, even if that was with Taylor. And Sheila really didn’t interfere a lot in his relationship with Taylor. After some initial begging, you know, please don’t do this. Sheila did hold back the divorce papers and was trying to negotiate, but in the end, she signed them because it’s what Deacon wanted.

After Taylor rejected him, Deacon may be having some buyer’s remorse about giving up Sheila. And of course, being with Taylor looks better for Deacon. He’s not with the town pariah like Sheila, somebody who everybody’s scared of. Deke Sharpe (Harrison Cone) even told his dad Deacon that the Il Giardino staff didn’t like her. And of course, Sheila shouldn’t have lied about Luna. However, Sheila never did anything malicious to Deacon and she never wanted to hurt him. And she never would have rejected him like this. And all of this might be on his mind when it comes to Taylor and her rejecting his proposal.
How long ago was she engaged to Ridge? It wasn’t that long. About a year. Not only that, but it was Taylor who proposed to Ridge. A little over a year ago. It was June 2025. Taylor asked Ridge to marry her. She was only a year younger than she is now when she’s saying that they’re too old to be getting engaged and married. So, I wonder if that’s weighing on Deacon. It should be.
And then a couple of months after Ridge accepted Taylor’s proposal, he turned around and dumped her for Brooke Logan (Katherine Kelly Lang). So, all this may have Deacon reconsidering being with Taylor. You know, why is it okay for her to get engaged to Ridge and plan to marry Ridge, but not Deacon?
And honestly, Taylor has to know Deacon would never do her like Ridge did her when he dumped her and ran off and married Brooke. Except now that she has, you know, rejected him, maybe he will. In the end, Deacon may decide what Taylor’s offering isn’t enough. Why should Deacon settle for Taylor’s non-committed love when he could go back to Sheila, who saw Deacon as her everything?
And yeah, Sheila came with some baggage, but she absolutely adored Deacon. And Taylor seems to have a bunch of priorities that she puts before Deacon. Meanwhile, he’s totally smitten with Taylor. So maybe Deacon’s in that mindset of seeing Taylor as somehow above him and that Deacon’s lucky to be with her because he’s got her on a pedestal. But how long can he live like that? Right?
Seems like Sheila might actually wind up getting another shot with Deacon before all is said and done because at this point Taylor is in control of their relationship. She’s clearly not giving Deacon everything that he needs. And I doubt that he is going to accept this in the long run. I’m looking forward to seeing him in scenes with Sheila once she’s back from Monte Carlo. And I wonder if Deacon will tell his ex-wife that he proposed and Taylor said no. And I wonder if Sheila will tell him, “Come back to me.” I kind of hope so.
Netflix‘s been having a rough run lately. Its flagship franchise, Stranger Things, ended with a finale that left fans unsatisfied. Original series are seeing a decline in viewership due to prolonged production cycles and increasing subscriber costs. The “second screen” approach to structuring storytelling has turned away a lot of viewers, as it leads to repetitive plot points that drag down some genuinely inventive approaches. That’s not even counting other streaming services, which are finding their own ways to stand out in a crowded landscape. However, Netflix’s salvation might lie in one of its upcoming science fiction series.
Said series is The Future Is Ours, which is based on Philip K. Dick‘s novel The World Jones Made. The World Jones Made is set squarely in a dystopian future, where the fallout of World War III has led to an authoritarian government taking over America. A young man, Floyd Jones, starts receiving visions of the future, including an alien race called the Drifters coming to visit Earth. The Future Is Ours will be adapting the same story, but it’s taking a unique approach that’ll hopefully make it stand out in Netflix’s catalog, and the television landscape as well.
What makes The Future Is Ours stand out is that the entire production is based in Latin America, including its cast and crew. Some of Netflix’s biggest hits, particularly Squid Game, have been foreign language series; it’s proof that a great story can resonate with its audience no matter where it might take place. Filtering Philip K. Dick’s work through another cultural lens could also bring a fresh take to the story, especially as Floyd Jones has been reimagined as a priest named Jonás Flores. How will Jonás be able to reconcile his visions with his faith? How will the government respond to a leader who’s able to see every move they make? The setting might have shifted, but the rich themes that permeate Dick’s work remain.
The Future Is Ours also stands out from other Philip K. Dick adaptations by having one of his family members involved in the creative process. Dick’s daughter, Isa Dick Hackett, will serve as an executive producer on the series under her Electric Shepherd Productions banner. Electric Shepherd previously brought another one of Dick’s books to life with Prime Video’s The Man in the High Castle, and Hackett expressed her desire to make sure that The Future Is Ours would be a series of the same caliber.
“It’s an honor and a privilege to collaborate with Netflix, Francisco Ramos, and this stellar creative team on the first Spanish-language adaptation of my father’s work for the screen. Mateo’s adaptation of the novel is inventive and bold while retaining the essence of the original. I have long believed that the rich culture and incredible talent in Latin America provide an extraordinary setting for this sort of ambitious project, and the passion expressed by the entire team is truly inspiring.”
The Future Is Ours comes at a perfect time for Netflix, as the streamer is leaning more into science fiction shows. In addition to returning hits like 3 Body Problem and Black Mirror, Netflix is also bringing original content like the sci-fi thriller Human Vapor to its library this year. It’s a smart move, as some of Netflix’s biggest hits have been in the sci-fi space, and a timely one as more streamers are starting to lean heavily into the genre. Disney+’s biggest franchises, particularly Marvel and Star Wars, provide plenty of science fiction adjacent series while Apple TV remains one of the most reliable services to find good sci-fi series.
Netflix could also use a win in the sci-fi space, particularly after The Boroughs was unceremoniously canceled. Many loved The Boroughs for its star-studded cast, including Alfred Molina, and for the fact that it was willing to put older characters at the center of a sci-fi story rather than having them be supporting characters. Its absence created a glaring hole in Netflix’s library, and that’s a hole that The Future Is Ours can fill.
The Future Is Ours is slated to premiere on Netflix in 2027. Stay tuned to Collider for future updates.
Young and the Restless hot new spoilers for next week include Billy Abbott (Jason Thompson) acting out and burning bridges. And when he does, Cane Ashby (Billy Flynn) is furious. Plus, Nate Hastings (Sean Dominic) takes a big risk to change his future. We’ve also got a huge return and lots of family drama and infighting.
We’ve got your latest Y&R spoilers for the week of August 17th through the 21st. Plus, next week we’re going to have more scenes of Traci Abbott (Beth Maitland), who is back on the scene, as well as more drama with Nick Newman (Joshua Morrow) in rehab. Let’s start with Abbott family drama.
So, next week’s Y&R spoilers have scenes with Christine Blair Romalotti (Lauralee Bell). She’s hanging out at the Shadow Room, of course, where her hubby Danny Romlalotti (Michael Damian) is now the manager and Traci is there. And we’re going to talk in just a second about why she’s back on the scene. But Christine says she knows the Abbott family has had a lot going on and just a lot of drama in their household lately. And Traci says that’s another reason why she really needs a night out.
And then the big return for next week happens in this scene. Trisha Cast is back as Nina Webster and she sneaks up behind Traci and says about needing a night out, you and me both. And Nina and Traci share a big hug. So, the reason they need the Abbott sister on the scene, is because of what Billy is up to. In the final episode of this week, he is with Jack Abbott (Peter Bergman) and Kyle Abbott (Michael Mealor) at the cafe and Billy tells them he found the big secret that he suspected Jill Abbott (Jess Walton) was keeping and says it was buried deep.
And of course, Billy has been on this obsessive scavenger hunt at Chancellor, going through the archives and he found it. And then he drops a bomb on Jack and Kyle. Billy says the Abbotts actually own Chancellor and Billy says he can prove it. He found paperwork about a loan. Basically, John Abbott (Jerry Douglas) loaned Chancellor money to keep it out of bankruptcy. And if the loan wasn’t repaid within 20 years, then Jack’s dad John or his heirs would get ownership of Chancellor. And Billy had the paperwork he found authenticated, and he said that loan was never repaid to John.
So, Jack says he believes that that is something that their father John would have done, set up something like that. But Jack’s wondering if Katherine Chancellor (Jeanne Cooper) knew about it. Jack assumes she didn’t because she would have paid John back. But Billy is so excited to drop this bombshell on Cane, of course, because you know, Billy wants to yank Chancellor away from his sort of brother and away from Lily Winters (Christel Khalil). This is all back to Billy’s mommy issues where Cain and Jill are concerned.
So, Jack thinks Billy needs to slow down and he says, “If Victor still had Chancellor, of course, go for it. Take it from him.” But since Lily owns it, Jack isn’t so sure. So, Billy pushes back and he’s griping about Jack trying to kill the dream. Billy also said he’s not going to accept some kind of offer from Cane to back off. Billy wants Chancellor. He wants to run it. And he tells Jack that the company is rightfully theirs. And Kyle points out this could drag out years in court.

Billy insists the contract that was made with Chancellor and John must be honored. And then Jack accuses Billy of deluding himself. Jack doesn’t think this is what Billy needs. And of course, he gets mad. Doesn’t like Jack telling him what he needs. And Jack tells Billy this could be an expensive fight. Billy doesn’t care. And then Kyle asks how Sally Spectra (Courtney Hope) feels about this Chancellor thing.
Well, as it turns out, Billy hasn’t told Sally yet. And Kyle reminds Billy he’s supposed to be putting Sally and the baby she’s having first. Billy thinks he can do both. And he’s certain that Sally is going to support him in this. But Jack doubts it because Sally almost left Billy once before and it was about Chancellor and his fixation. That’s the point on Friday where Billy’s tantrum is going to reach fever pitch and he stomps away from them. But Kyle checks out the documents that Billy found and he actually agrees they look legit. Kyle says, “Maybe Billy’s right. Maybe we do actually own it.”
So, Jack and Kyle talk about how to handle this, but they don’t think it’s up to just them. Jack and Kyle think they need to bring Traci and Ashley into this conversation because Chancellor would belong to all of John’s kids, not just Billy. But of course, he’s going to rush over and tell Cane and Lily. So, at the end of this week on Young and the Restless, Lily is talking to Cane over breakfast, and she asks how Billy’s doing at Chancellor. Cane says he doesn’t want to talk about Billy. And that makes Lily way more curious and nervous.
And Cane tells her that Billy has been stirring things up because he thinks there is a secret in the Chancellor records. Cane says it’s something that Billy thinks Jill didn’t want Billy to know about. And then Cane says Billy thinks that it’s something that will give him control of Chancellor. And Lily’s annoyed and says over my dead body. But Cane is confident. He says Billy won’t find anything and this will all blow over. But Lily wants Cane to just fire Billy now. Lily wants him gone before Billy can cause any trouble. And Cane asks for more time. He’s really advocating for his brother. And Lily caves and finally says, “Fine, it’s up to you.”
So, Cane thinks that Billy will be different because of the baby on the way. But then he walks up on Cane and Lily and she asks Billy about him doing all this digging in the archives. And Lily tells Billy he just needs to stop that and focus on Chancellor’s future. And Billy says, “No more digging because he found what he was looking for and now he has the keys to the kingdom.” and he tells Lily he admires and respects her, but Chancellor belongs to him and he can prove it. I’m sure this is going to blow up in a big bad way.
Next week on Young and the Restless, presumably with Sally still out of the loop, we’ve got Audra Charles (Zuleyka Silver) approaching Billy at the bar and asks what amazing thing he’s celebrating and he tells Audra, “Join me and I’ll tell you about it.” Now, it seems like a bad idea for Billy to tell Audra before he tells Sally. But again, we’re back to Billy being Billy. And I’m curious if Audra will immediately phone Sally. You know, Audra may give Sally a warning that Billy is fixated on Chancellor and now thinks he owns it.
Plus, I’m sure Cane and Lily are going to dig in and find out if Billy’s assertion is true. I expect Cane to call Jill and get verification. That’ll probably happen offscreen. But Billy is skipping over a very important part. that Chancellor belongs to the Abbotts, not to him. Also, next week, it looks like Nate is ready to take a big step towards returning to his career in medicine.
He told Lily and Devon Hamilton (Bryton James) recently about a new procedure that might help. So, in next week’s Young and the Restless spoilers, Nate is talking about it to Stephanie, and Nate asks what happens if the surgery on his hand works. And Stephanie Simmons (Vivica A. Fox) says Nate will be back in the operating room wowing people with his talents once again.
When The Ninth Jedi first debuted as one of the standout episodes of Star Wars: Visions, fans immediately wanted more. Thankfully, Lucasfilm and Production I.G. delivered. Star Wars: Visions Presents – The Ninth Jedi expands that original concept into a full eight-episode adventure, and for the most part, it’s a thrilling addition to the galaxy far, far away.
Rather than relying on familiar faces or endless callbacks, The Ninth Jedi confidently tells its own story. Lah Kara continues her journey to become a Jedi while searching for her missing father, the legendary lightsaber smith Zhima. The series builds on the fascinating mythology introduced in the original short, particularly the concept of lightsabers that change color based on their wielder’s connection to the Force, giving the franchise one of its most unique Force-related ideas in years.
Visually, the series is stunning. Production I.G. delivers fluid action sequences, cinematic camera work, and expressive character animation that often rivals theatrical anime. Lightsaber duels feel fast, impactful, and beautifully choreographed, while the environments help create a galaxy that feels both familiar and refreshingly original.
The biggest strength, however, is its sense of adventure. Kara is an easy protagonist to root for, and the supporting cast develops naturally throughout the season. The series embraces classic Star Wars themes of hope, mentorship, and choosing one’s own path without becoming weighed down by decades of continuity.
Star Wars Visions Presents – The Ninth Jedi
Not everything lands perfectly. A few middle episodes slow the pacing, and some supporting characters could have benefited from additional development. The story occasionally feels like it’s setting up future installments rather than fully resolving every thread by the finale.
Still, those are relatively minor complaints in what is one of the franchise’s strongest animated offerings in recent years. Critics have similarly praised the series for bringing fresh energy to Star Wars, with outlets like The A.V. Club calling it “a breath of fresh air” and early reviews earning it an 84 Metascore with universal positive reception.
Star Wars: Visions Presents – The Ninth Jedi succeeds because it remembers what made the original short so compelling while expanding its world in meaningful ways. It’s imaginative, beautifully animated, and confident enough to tell a Star Wars story that stands on its own.
If this is the future of the Visions Presents banner, it’s a direction Lucasfilm should continue exploring.
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‘Slippers’ may sound casual, however, Julia Roberts wore them in a way that makes them anything but. The star’s latest shoe style kept the cool-mom ease but gave the silhouette an incredibly luxe upgrade. We found her classy flats look on Amazon, and although it appears expensive, the $23 price tag says otherwise.
Roberts ran errands in New York City while wearing a white blouse, navy cardigan and baggy blue jeans. She tied it all together with cream-colored ‘footie’ flats, a shoe style that turned heads from supporters and skeptics alike. This sleek version has the same low profile without going full footie, so it’s a universally stylish way to dip into the trend.
Get the Afeetsing Round-Toe Ballet Flats for $23 on Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Like Roberts,’ these delicate flats are designed with a rich beige hue, cute bow tie and an understated silhouette. But instead of hugging your toes, they have a polished round shape, making them ideal for upscale occasions.
With such a plush, pillowy insole, you’ll want to wear these timeless flats everywhere from everyday errand runs to fancy fall weddings. According to one happy shopper, they’re even comfier than trainers!
They wrote, “This pair arrived right before a cruise, so no time to break them in. I figured they would be okay for evening. They are so comfortable and fit so well that I even wore them home on the plane, because honestly they felt better than my sneakers!”
Clearly, you don’t have to choose between comfort, polish and trendy style. These beige beauties hit all of the above with the added perk of versatility. They pair just as well with dresses as they do with trousers, skirts and jeans, as Roberts showed Us. If you’re thinking what we are, you’ll do all of the above. Nail the NYC cool-mom trend below!
Get the Afeetsing Round-Toe Ballet Flats for $23 on Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more chic flats, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
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Hours after Bethenny Frankel officially opened her Supermodel Café in the Hamptons, the establishment was served a stop-work warning.
“Today’s Supermodel Café launch drew an extraordinary turnout, and we are incredibly grateful for the overwhelming support from the community,” a rep for Frankel, 55, told Us in a statement on Thursday, August 13. “The café received a yellow notice labeled ‘Warning Stop Work Order’ following concerns surrounding the unusually high volume of launch-day attendees.”
The spokesperson continued, “The team is working cooperatively with local officials and taking the appropriate steps to address those concerns. The notice does not require the café to close, and there is no anticipated disruption to business. The café will operate during its regular daily hours of 8 a.m. to 3 p.m.”
Us has learned that more than 700 people turned out to the Supermodel opening on Wednesday, August 12, and the chicken salad was the first menu item to sell out.
Newsday reported that the order was posted on the pop-up shop’s window, claiming that Frankel’s team failed to comply with New York State and Southampton’s respective building code and town ordinances.
“We’re also going to be issuing some violations and/or summonses from the Fire Marshal’s office as well for sidewalk obstructions and unpermitted signage too,” Southampton Town Public Safety and Emergency Management Administrator Ryan Murphy told the newspaper, adding the notices were “already given” out before Supermodel’s opening. “They failed to take corrective action.”

Frankel, who has not publicly addressed the stop-work order, recently told Us that she was entirely focused on launching Supermodel Café.
“I’ve never worked harder, and I literally have never considered myself a CEO until this summer,” the Skinnygirl founder exclusively told Us on Wednesday, August 12. “I finally, for the first time, I’m like, ‘OK, I’m a CEO. I’m working every day.’ Really working, not just hard. My brain is fried at the end of the day. I don’t do anything half-assed, so it then became, like, now it was nutritional information and decor and merch and marketing and the Jitney came to us.”
In addition to collaborating with the famed Hamptons bus line, Frankel revealed that other “multibillion-dollar companies” offered to distribute her goods. The former Bravo star’s vision for Supermodel extends far beyond the shop doors.
“That is going to change the entire industry,” she told Us of her endeavor. “The way that it’s going to be in the marriage of content, venture capital, brand incubation, brand-building and production. This is probably going to be a café in New York with a studio next to it, and in that studio, brands will be built and paired with creators.”
The Hamptons pop-up remains open with Frankel sharing footage from the eatery to her Instagram Stories on Friday, August 14.
Lauren London has once again reminded the timeline that she doesn’t need to do too much to make a statement. The actress recently gave fans a peek at her time in Martha’s Vineyard, and the photo dump had her serving the kind of effortless beauty that had folks doing a double take.
In a new Instagram post, Lauren captioned the series, “Boogie on the Vineyard. Martha was tea.” She posed in a butter-yellow dress paired with a Nippy Tussle necklace, dark shades, and gold hoops, while rocking a sleek, middle-parted bun and French tips. With a natural beat and the sunlight hitting her just right, Lauren looked every bit like that girl while taking in the Vineyard views.
Fans ran to TSR’s Instagram comment section, running it up with praise for Lauren London’s latest look. Some said Lauren has always been stunning, while others joked that she only pops out when it’s time to celebrate Nippy Tussle. Meanwhile, a few fans joked that Martha’s Vineyard costs way too much dough.
One Instagram user @geishalee said, “I was gonna plan a trip there after seeing the show “Forever” but the price 🥲🫢”
This Instagram user @sagittariusmindset claimed, “Big Sagittarius ❤️♐️ face card forever A1 ✨”
And, Instagram user @laurenlondonfanpage.84 commented, “Been that girl! 😍😍🐐”
Meanwhile, Instagram user @1frankjordon added, “She only pop out when her 🥷🏾 album drop, like a true 👑”
While Instagram user @_suckafreesi shared, “Love seeing my Y2K baddies getting more beautiful with time 🥹🤎”
Finally, Instagram user @_bella.1991 wrote, “She’s always been THAT girl 👏👏👏🔥”
This wasn’t Lauren London’s first time serving a look, either. Earlier this year, she had fans turning heads with a carousel from The Gold Party 2026, where she stepped out in a black flowy gown featuring a midsection cutout, gold hoops, and matching jewelry. With her hair swept into an updo, Lauren once again proved she didn’t need much to have the timeline talking.
What Do You Think Roomies?
Bailey Tippen is entering a major new chapter in her career, with the return of Netflix’s breakout hit “Beauty in Black” and the upcoming Paramount+ drama “Route 187,” putting the rising actress in the spotlight.
Tippen recently sat down with The Blast to chat about her “Beauty in Black” character’s evolution in Season 3, the challenge of portraying a teenager navigating increasingly difficult realities, and what she learned from working alongside Tyler Perry. She also discussed her desire to take on diverse roles, the importance of the powerful storyline of “Route 187,” and the passion that continues to drive her career.

Tippen started her acting journey around the young age of 5. After taking some classes, she started acting professionally at age 7. Through her training, she learned how to get comfortable in front of audiences, all about scripts, how to understand her characters, and more.
When asked what it was that got her interested in acting, she credited the “Disney Channel.”
“As a kid, I really wanted to be on Disney,” she told The Blast exclusively. “I love ‘Hannah Montana,’ so definitely that was it.”

When the conversation moved to discuss Tippen’s role in the hit Netflix series, “Beauty in Black,” she gave us a little sneak peek into what this season holds for her character Sylvie.
“From Season 2, we really get to see Sylvie hitting her breaking point and on her fight for survival. Then towards Season 3, we see in the trailer, she begins to question her reality and the people she’s around,” Tippen told The Blast. “Sylvie’s been through a lot of emotional heartbreaking moments.”
The most challenging part of bringing Sylvie to life on screen is that she’s a teenage girl and Tippen needs to tap into that “headspace” to remember what it was like being that age.
“Your world seems so big at the moment. Your emotions are so big,” she said. “As you get older, you realize, well maybe I was tripping on that. So just definitely connecting and going back into that mindset.”

When Tippen first began portraying Sylvie, she saw a “young girl who just had dreams and hopes of making it out of her living situation.”
“She had toxic family members and I just wanted to assist her through that journey,” she said. “But as she got older, as the story progressed, we can see more of her; she’s a bit naive with little rose tint glasses on, and as the story progresses, we see the shift of her coming to terms with reality. So it’s been a fun ride.”
Watching the audience connect with Sylvie has been something Tippen calls “amazing.” She loves to hear the conversations the fans are having and learning that so many people support each season.
“Every time it releases, it’s been number one,” she told The Blast. “And that alone is just so outstanding. We’re getting support from all over the world globally and it’s just amazing. I love it.”

Tippen said it’s been quite the experience getting to work with Tyler Perry on “Beauty in Black.” She said, “there’s nothing he can’t do.”
“Mr. Perry is just wonderful,” Tippen said. “He wears so many hats in this production, and in his other productions as well. But what I know specifically to this production, so many hats — he’s the producer, he’s the writer, he’s the director, he’s the showrunner – but he also understands acting and he knows how to connect with it. I think that is so magical. I think it inspires me more than just an actor, but just as a creative. You can really pursue any avenue with the passion and the right drive.”

Tippen’s other project, “Route 187” is a bit different from her work on “Beauty in Black.”
“It’s a crime, it’s a drama,” she said. “Totally different [from playing Sylvie]. I am excited to share it with the world. It comes out on the 16th of September.”
She added, “there are murders, disappearances of Black women, and I just feel the time that we are living in now, these stories aren’t too far fetched from reality.”
Tippen said getting these stories on TV screens means keeping necessary conversations alive.
Tippen is known for playing a variety of characters, and enjoys seeking out different types of roles to add to her impressive resume.
“I love playing different characters, different roles. That’s where my heart is – connecting with so many different types of people,” she said. “And I will continue to hopefully be able to do the same.”
As far as what’s next for the actress, she said she’s got some things in the works, but she’s not able to talk about them just yet.
Outside of her career, she’s hoping to one day be able to check the box on skydiving since it’s something she’s wanted to do for a while.
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